Iain Mackintosh writes: Diana Rowntree tells us that Derek Sugden believed meetings of more than seven people were a poor means of communication. The creation of theatres usually involves large design teams confronting vast building committees that are beholden to grant-giving bodies and individual donors, plus endless “stakeholders” pitching in. By contrast, the concept design of Glyndebourne’s auditorium, pit and stage was achieved by Derek’s ideal: a few people meeting fortnightly over not many months. The client was one man, George Christie, advised by John Bury (theatre) and Anthony Whitworth-Jones (administration). The design team was headed by the architects Michael and Patty Hopkins. There were two silent structural and services engineers from Arup (silence signified approval), my colleague Alan Russell from Theatre Projects for technical theatre, and two “generalists” who talked a lot – Derek and me. I had the temerity to introduce the horseshoe within a classical circular drum, whereas the received wisdom was that modern acousticians shunned the circular. But Derek shared the enthusiasm that many of us felt for the Bordeaux Grand Théâtre and the Munich Opernhaus. The past could inform the present. The Hopkinses welcomed both the circular geometry and Derek’s assurances that his Arup Acoustics… Read full this story
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Letters: Derek Sugden kept it simple with humour and confidence have 403 words, post on www.theguardian.com at February 26, 2016. This is cached page on Sport News. If you want remove this page, please contact us.